Bryce Anderson’s field of painting is interwoven with popular culture and art history. Producing among other things, figurative paintings, geometric abstractions and paper collages. Anderson works with visual content in a number of ways and in doing so aims to push against the traditional divergence between figuration and abstraction. He offers environments that navigate different periods and themes, attributing the potential of individual images to function today in a significant way.
Born 1991 Queensland, Australia. Lives and works in Naarm (Melbourne), Australia.
Bryce Anderson has exhibited extensively throughout Australia and abroad with recent representation to include New York based gallery Uprise with whom he exhibits regularly. Participating in a selection of prizes, Anderson was shortlisted for the Brett Whiteley Travelling Scholarship in 2018, in 2016 Anderson was awarded the SCU travelling scholarship to undertake study at Brock University, Ontario, Canada. In 2016 Anderson was the recipient of The Subject of the Northern Rivers award for the Hurford Hardwood Portrait Prize at Lismore Regional Gallery, New South Wales.
Anderson’s work is held in various private and public collections within Australia and abroad. Most notably the Fiona Myer collection in Melbourne, Australia and the Brock University, public collection, Canada.
Bryce Anderson is represented by China Heights, Sydney and Uprise, New York.
---- Times of the Day continues Anderson’s inquiry into how and what can constitute a painting, object and image sit along, beside and through one another. Fragments of domesticity negotiate for space over the substrate providing at times windows into spaces, walls obstructing views or glances from afar. A promenade of art historical tropes through the lens of a passerby.
“A long time back I used to listen to a song by Dennis Wilson. It was from Pacific Ocean blue, the album he made after the Beach Boys fell apart. There was a line in it I loved: Loneliness is a very special place. As a teenager, sitting on my bed on autumn evenings, I used to imagine that place as a city, perhaps at dusk, when everyone turns homeward and the neon flickers into life. I recognised myself even then as one of its citizens and I like how Wilson claimed it; how he made it sound fertile as well as frightening.”